Bronzino portrait of a young man. Bronzino 2022-10-08
Bronzino portrait of a young man Rating:
Pietro Aretino, a 16th-century Italian poet and playwright, once said, "A portrait is a painting, sculpture, or other artistic representation of a person, in which the face and its expression is predominant." This statement holds true for Bronzino's portrait of a young man, which is a prime example of Renaissance portraiture at its finest.
Bronzino, also known as Agnolo di Cosimo, was a Florentine painter who was active during the early to mid-16th century. He was a contemporary of Michelangelo and is considered one of the most important artists of the Mannerist movement, which emerged in Italy during the High Renaissance and is characterized by its elongated and stylized forms, as well as its focus on artistic virtuosity.
The portrait of a young man by Bronzino is a stunning example of Mannerist portraiture. It is a full-length portrait of a handsome and fashionable young man standing in front of a plain background. The young man is dressed in a sumptuous black and gold outfit, complete with a black hat and gloves. His long, curly hair is styled in the latest fashion, and he exudes an air of confidence and sophistication.
One of the most striking aspects of the portrait is the young man's pose. He stands with his arms crossed over his chest, his head turned slightly to the side, and his eyes looking directly at the viewer. This pose conveys a sense of self-assurance and intelligence, as if the young man is challenging the viewer to engage with him.
Another notable aspect of the portrait is Bronzino's meticulous attention to detail. The artist has captured every nuance of the young man's appearance, from the texture of his clothing to the individual hairs on his head. The result is a highly realistic and lifelike depiction of the subject.
Bronzino's portrait of a young man is a testament to the artist's skill and dedication to his craft. It is a work of art that stands the test of time and continues to be admired for its beauty and technical mastery.
Portrait of a Young Man
It was used vigorously to describe the draped grotesque mask at the left, outlining contours but also indicating shadows with diagonal hatching. Klaus Bergdolt and Giorgio Bonsanti. The Metropolitan Museum of Art. Bambach in The Drawings of Bronzino. Julia Siemon in The Medici: Portraits and Politics, 1512—1570. In 1528 in a contractual agreement Matteo Sofferoni employed as one of his witnesses Jacopo da Pontormo.
Mannerism and Masks: Bronzino's Portrait of a Young Man
Bronzino was himself a poet. In them the sitter displays works written in everyday Italian script while Lorenzo Lenzi displays a book written in the chancery hand cancellaresca that became wide-spread in the sixteenth century. His hat, shirt, and pantsreveal that this youth is well color-coordinated. It appears likepurplish, carved stone. June 5, 1930, attributes it to Bronzino and considers it the portrait of a Florentine nobleman, not the Duke of Urbino. What can you learn about these youths? Ulderigo Medici, Catalogo della galleria dei Principi Corsini in Firenze, Florence, 1886, p.
Agnolo Bronzino / Portrait of a Young Man with a Book
We do not know who this lady is. Scholarly consensus has coalesced around the notion that the painting is an early work by Agnolo Bronzino. Jean Alazard, Le portrait Florentin de Botticelli a Bronzino, Paris, 1924, p. September 24, 2010- January 23, 2011, Palazzo Strozzi, Florence , pp. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. The sitters all face the spectator, are positioned slightly obliquely to the picture plane, and are sharply lit from the upper left. New York, 2021, pp.
Choix de gravures à l'eau forte, d'après les peintures originales et les marbres de la galerie de Lucien Bonaparte. They appear in full party mode in Titian's Bacchus and Ariadne of 1522-3, also in the National Gallery. Mar Borobia Find out more + The exploitation rights of the images correspond to the Fundación Coleccion Thyssen-Bornemisza, F. The present panel has been related to an early work by Bronzino on which he collaborated with Pontormo: four tondi depicting the Evangelists painted for the funerary chapel of Ludovico Capponi in Santa Felicità in Florence. September 24, 2010- January 23, 2011, Palazzo Strozzi, Florence , cat. Havemeyer Collection, Bequest of Mrs.
Zeri was the first expert to have shown an interest in this painting and seems to have studied it before it was cleaned. Vasari records that Franciabigio painted Sofferoni but there is no reason to identify him as the sitter of the Berlin picture. New York, 2010, pp. On the Knight of Rhodes also see Bastian Eclercy in Maniera: Pontormo, Bronzino and Medici Florence, Bastian Eclercy, ed. VIII, calls it a portrait of an unidentified young man by Bronzino in the Sagan collection, Paris, and dates it about 1535—40.
The contemporary art chronicler Vasari noted that Michelangelo's Bacchus possessed "both the youthful slenderness of the male and the fullness and roundness of the female". The Victorian critic JA Symonds saw Bronzino's "inexpressibly chilly portraits" as marked by the artist's "personal corruption". Certainly anyone of a number of people could use such a book, but there is one candidate who was a close friend of both Pontormo and Bronzino in the 1520s. An inscription on the edge of the table on which he rests his hands makes it clear that the content of his letter must relate to love, and therefore again likely be best kept illegible, to maintain his privacy. New York, 1993, p.
Paul Getty Musuem, 89. To request images or permits for commercial use in academic or research publications, that is, catalogues of other institutions, monographs and other specialized publications, you should contact the Museum's Commercial Archive by email at the e-mail To request images or permits for other commercial or advertising uses general publications, merchandising, exhibitions, audio-visual works, web pages, etc. Andrea Bayer in The Medici: Portraits and Politics, 1512—1570. New York, 1993, p. New York, 1954, p.
Although Florence was a republic at the time, Piero was in effec. Keith Christiansen in Splendid Legacy: The Havemeyer Collection. Better yet, join us for a treasure hunt! However, an image of this painting is not available to download. New York, 2021, pp. February 24-june 5, 2016, Städel Museum, Frankfurt , Städel Museum 2016, cat. Carl Brandon Strehlke in Pontormo, Bronzino, and the Medici: The Transformation of the Renaissance Portrait in Florence. Distinguishing features: This is a sly, But what a pose.
Both his hat and the ties supporting his codpiece are decorated with gold aglets, and he wears one ring. It certainly is true for this young man. New York, 1999, p. Jean Cox-Rearick related our work to a drawing in the Uffizi, Florence, which is also closely related to the Four Evangelists in the Capponi chapel. Though regilded and reduced at the corners to accommodate this painting, evidence reveals that the original surface included black painted areas.
Christopher Riopelle in Portraits by Ingres: Image of an Epoch. He liked the beauty of art and language. Havemeyer, 1929 Accession Number: 29. . His gaze radiates confidence too! New York, 1940, pp. The long history of this painting attests to its importance.